NOTICE

Kasmin will temporarily be open by appointment only and will suspend all book orders in light of the developing situation regarding COVID-19 and the recommendations against public gatherings. The gallery takes its responsibility to its visitors, artists, and staff seriously, and the decision is the result of careful consideration in tandem with our wider art community. We will continue to monitor the guidelines released by the World Health Organization and local government, releasing updates via our social media and website.

In the meantime, please continue to our current exhibitions online: William N. Copley The New York Years and Valley of Gold: Southern California and the Phantasmagoric.

For more information or to make an appointment to see the exhibitions please call +1 212 563 4474 or email [email protected]

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More News This Week

Architectural Digest

March 6, 2020

Open this week, Kasmin’s latest show, “Valley of Gold: Southern California and the Phantasmagoric,” examines Southern California art through the lens of European surrealists and more. Aesthetes will note the depictions of Hollywood interiors by Man Ray, who photographed cavernous yet eerie residences, and ceramics by Beatrice Wood, an avant-garde potter who was close with Marcel Duchamp. The exhibition also includes works by John Baldassari, Ed Ruscha, Marjorie Cameron, and other greats, and is on view until April 11.

The Armory Show Booths Built to Stand Out on Instagram

Observer

March 5, 2020

One booth presenting a stunning blend of work and aesthetics this year is Kasmin Gallery (Booth 700).

The Armory Show VIP Preview Opens To Strong Sales, Resilient Collectors

Forbes

March 5, 2020

Kasmin was showing a mix of modern and contemporary pieces. "We are mimicking a collector's room, and we've integrated works from both the 20th and 21st centuries: a beautiful Stuart Davis, a Lalanne mirror, a unique David Wiseman bronze chandelier that has been electrified," continued Gleason.

Highlights from The Armory Show 2020

For its presentation this year, Kasmin eschewed the traditional booth treatment in favor of inviting fairgoers into a curated living room of sorts, displaying works from across its modern and contemporary programs. Jasper Morrison’s cork fireplace, shelves, table, and chairs serve as the backdrop for a wide range of works placed around the room, from Max Ernst’s bronze sculptures and William Copley’s ink on paper drawings, to a photograph of Patti Smith by Robert Mapplethorpe and a dreamy oil painting of Union Square by Jane Freilicher.

10 Highlights from The Armory Show

Interior Design

March 9, 2020

Home is revived in a literal sense at Kasmin Gallery’s booth, where numerous artists, including Bernar Venet, Naama Tsabar, Bosco Sodi and Robert Mapplethorpe, are juxtaposed in a living room setting, finished with decorative accents and furnishings, particularly in wood. Small-scale works of photography, painting, and drawing orchestrate a domestic display, drawing unforeseeable parallels between the artists from disparate careers.

Donald Kuspit on Keith Sonnier

Artforum

March, 1, 2020

Red, yellow, and blue neon tubes were illuminated. Wires hung loosely and were expressively slack. A flat black plane, rectangular or square, was often thrown into the mix. Everything was finessed into the gallery’s smooth, white walls like a bas relief. The works’ finitude and self-containment were exacting, perfect: Such is the formula for Keith Sonnier’s technological constructions, which were arranged like altarpieces within Kasmin’s West Twenty-Seventh Street space in Manhattan’s Chelsea. The compositions have a peculiarly sacramental character, all the more so because their radiant colors cast an auratic spell. Sonnier created a church of pure art—inside of which audiences paid fealty to its hypnotic concoctions.

Loplop Persists: Max Ernst’s Collages Reviewed by Elina Alter

BOMB

February 26, 2020

As with most of the images he used in his collages, Ernst found this “Amazon” in books that reproduced nineteenth-century engravings. In the process of scrambling these stories, Ernst revealed their unintentional humor (riding a lion) and absurd piety (the monk is patting a plant) while assembling them into images that can’t be used to tell a coherent story.

Who’s in and Who’s Out at Art Basel? See the Exhibitor List for the Swiss Fair’s 50th Anniversary Edition

artnet

February 26, 2020

The 288 galleries at this year’s edition hail from 35 countries and territories, numbers that are in keeping with previous iterations of the fair. Several notable names are making the trip to the Swiss fair for the first time, including Kasmin, which will show early charcoal drawings from Lee Krasner. 

Here’s the 2020 Exhibitor List for the World’s Biggest Art Fair, Art Basel

ARTnews

February 26, 2020

Of the fair’s four main sections, Feature and Statements present booths that are curated primarily around solo presentations of artists. Among the highlights of in Feature are presentations of sculptures by Mary Beth Edelson at New York’s David Lewis, charcoal drawings by Lee Krasner at New York’s Kasmin, and rarely seen pieces from the 1960s by Peter Saul at New York’s Venus Over Manhattan.

Art Basel announces exhibitors for its 50th anniversary edition this June

The Art Newspaper

February 26, 2020

Lee Krasner's formative charcoal drawings presented by Kasmin follow on the heels of the artist's European retrospective, which started at London's Barbican and this year travels to the Zentrum Paul Klee in Bern, Switzerland, and the Guggenheim Museum in Bilbao, Spain.

Alma Allen

Brooklyn Rail

February 15, 2020

The fluid, organic nature of Allen’s work argues for a sense of sculpture that is biomorphic and process-oriented. His sculptures are hardly urban, belonging instead to woods and fields and ponds—this despite the monumental tenor of the work on hand. Kasmin’s show, installed in a high-ceilinged gallery space in Chelsea, argues for a distinct perception of form. No work is very much like another, but the organicism of the overall project ties the discrete sculptures together in ways that generate meaning, in terms both of the individual works and also the overall gestalt resulting from their placement.

The Six Best-Designed Items of the Month

Wall Street Journal

February 13, 2020

A show of William N. Copley paintings opening March 11 at New York’s Kasmin gallery explores the surrealist influences and sexual politics in the artist’s work from the 1960s, ’70s and ’80s. Once beloved by Duchamp and Lichtenstein, he’s now adored by Beyoncé.

The Collages of Max Ernst

The Paris Review

February 6, 2020

Few bodies of work represent the splintering of the twentieth-century Western psyche like the collages of Max Ernst. Striking and playful, the German surrealist’s clipped-together creations, produced throughout his life, attest to a roving eye for materials and a deep curiosity about harmony and dissonance. The art historian Werner Spies has said that “collage is the thread that runs through all of his works; it is the foundation on which his lifework is built.” A new exhibition of Ernst’s collages (on view at Paul Kasmin’s 297 Tenth Avenue location through February 29, 2020) presents approximately forty of them, some of which are being displayed for the first time.

Max Ernst "Collages"

Brooklyn Rail

February 2020

Well, the most wonderful things about this most wonderful exhibition—and goodness knows, we have all seen many exhibitions of this Dada/Surrealist/genius guy—are the “Lettrines". These are the illuminations of various letters, many D’s, some A’s, and some M’s. So many responses are elicited from the observers we are, going up close to the amazing small images whose impact and whose intricacies are enormous. Where to start to say anything? Perhaps with the repetitious details, for to me, this all felt like poetry, in its rhythms, its small figures, and its large resonance.

Artist Alma Allen’s Story Is Wilder Than Fiction. Here’s How He Went From Whittling Sticks in the Utah Desert to a Splashy Solo Show in Chelsea

artnet

January 31, 2020

Allen grew up in a landscape dotted with canyons, mines, and petroglyphs, which he describes as “the first things [he] understood as art.” He began creating small objects—carved stones or bits of wood—to leave behind in the hopes of communicating with the indigenous people he imagined might still be lingering nearby.

Raised in a Mormon family without television and with few outside influences, Allen spent a lot of time alone in nature, and it was against that backdrop that he forged an enduring relationship with the types of materials he still uses today: marble, wood burl, stone.

Saturday Selects: Week of January 27, 2020

Sight Unseen

February 1, 2020

Alma Allen’s new exhibition at Kasmin Gallery showcases the artist flexing his resplendent imagination in bronze, wood and stone at scales only achievable with the employ of a custom-built robotic arm. (Injuries sustained early on in his career necessitated getting crafty, in the highest-tech way possible.) The pieces, situated as in a spartan sculpture garden, look at first glance like elegantly oversized Pokemon. I’d glibly suggest you catch them all, but you’d probably have to take the gallery, too — where else could you store such a collection? Where else would you want to?

Alma Allen reaches great new heights in New York exhibition

Wallpaper*

January 26, 2020

Comprising 12 large-scale sculptures, including a bronze that measures five metres at its highest point, the new pieces create a unique dialogue with the architecture of the gallery. Ranging from bronze sculptures displaying an unnerving malleability to the use of unexpected stones such as peach onyx, obsidian and green cantera, Allen’s works are psychologically charged, yet effortlessly expressive and reflect the artist’s inherent curiosity about the life of objects.

Of his work, Allen reflects, "I’m interested in describing a moment or an instant, not necessarily an archetypal thing. I like to capture things in-between that are still progressing beyond the moment I make them. I’m interested in that split second. They are a moment in the life of something rather than a symbol for something, they are more a symbol for an idea or feeling."

10 Standout Dealers at FOG Design + Art

Architectural Digest

January 17, 2020

What appeared to be a patinated and rather charming cabbage with chicken legs sitting high on a pedestal was, in fact, Choupatte—a 2014 bronze sculpture by Claude Lalanne, from an edition of eight, and in a manageable size somewhere between grand and petit.

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